Between the prince and the pauper!

Saltburn (2023)
Written & Directed: Emerald Fennel

Growing up, we were engrained into our psyche as if being rich was sinful. The bedtime stories and the fables that were fed to us always put the rich guys as the bad ones. The poor guy will always come out tops with their ‘good virtues’. Stories will invariably end with the rich guys repenting or giving all their wealth to charity, which will put them on a pedestal.

The miser is a villain. The King who gives all his wealth is good, and the one who is a spendthrift is bad. The vagabond who gets thrashed around will have a good life. The underdog will prevail in the end.

We were taught that being poor is favourable and being ambitious is not favourable. We should have a humble and simple life. Wealth is meant to be divided. An individual should not keep too much wealth. Hey, does this not smell of communism?

Now, in its own quite bizarre way, this film is telling us what we were taught is all bunkum. Of course, we knew it all the while. Rich people are not trustworthy just as much as poor people are not. There are good people and bad people in both arms of the economic spectrum. The simplistic view that people of humble backgrounds are more trustworthy is simply wrong.

The film is in England at Oxford University, where Olie, an awkward but intelligent from a humble background, starts his stories with a scholarship. He meets an aristocratic boy, Felix, who is such a star that all the cool kids want to be around him.

The apparently shy Olie is seen slowly transforming into a conniving planner and provocateur into slowly befriending Felix. His sob stories (like the one about his dysfunctional family and his death) melt Felix’s heart. Olie is invited to spend the summer in Felix’s family estate, Saltburn. There, through his scandalous methods, he eventually comes to eliminate each of Felix’s family.

In our day-to-day living, many tell white lies to shorten conversations or to prevent personal embarrassment. Most of us will take what people say at face value and not dwell too much on its truth. They are mere fillers in our daily dealings.

We only realise that we have been taken for a spin after the effect. But then, we would just move on. Life is too complex to carry all that suspicion over people. We would turn up like a Scrooge, just persistently grouchy, carrying a frown and generally fed up with the world, making life a living hell for ourselves and others. We cannot be overcautious, neither can we let our shields be consistently down and vulnerable.

How often have we found ourselves in situations like these - where we, after reaching a certain place of comfort in life, want to pay back to society. Call it altruism or call it ‘rag to riches’ guilt for leaving others behind, we have gone out our ways to reach out to the less fortunate. Instead of receiving tokens of appreciation, we received a lesson in how not to be so naive. Scores of stories can be told of deceit, lies and double-crosses. It may be their way of leaping forward to greater heights by feeding on others’ gullibility. We are their ticket to their glitz.

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The more things change, the more they stay the same.

Lost Illusion (Illusions Perdues, French, 2022)
Director: Xavier Giannoli
(Based on 'Illusions perdues' by Honoré de Balzac)

The distinction between the left and the right side of politics is said to have had its origin at the time of King Louis XVI. Those seated to the right were royalties and the nobilities who were quite contented with the status quo, that is, authoritarianism and the church's excessive meddling. The feudalistic method of wealth distribution works just fine for them, thanks to their linkages to the monarch. Those on the left of the King earned their every penny through hard work and hard-sell. Naturally, they abhor cronyism and want level playing fields.

The French revolution jolted this arrangement at its core. The peasants did not want to be reminded of their past anymore. People with surnames that had an association with the royalties and aristocrats were hunted down and guillotined. By the post-Napoleonic era, things had resorted back to how it was before the time the French broke down the gates of bastille. French society had been divided again by class. Money, wealth and ancestor became important again.

Against this background, Balzac wrote this classic. It is the story of a talented young 20-year-old man from the countryside who lands in 1821 Paris to be a somebody. Lucien, a man embarrassed by his heritage, comes armed with poetry and the zest to be a famous poet. He earlier is caught having an affair with a high society woman, somebody's wife. He soon discovers a world full of fake news and a press willing to prostitute itself to the highest bidder. His dream to be a poet crumbles as his writings hurt the sentiments of a certain section of society. Nobody writes the truth anymore. It all depends on who is their paymaster. The more things seem to change, the more they seem to recoil back to how it was previously. He falls in love with a budding actress, but her career is also cut short by these critics who shoot down talent with scathing jeers and paid negative reviews. Lucien comes home an empty man.

The kudos we read in the newsreels are because the reporters were told to do so. Publishers publish articles that meet their agendas. They realise that a lie often repeated becomes the unassailable truth.

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A swipe at high society?

Decoupled (Miniseries; 2021)
Netflix

It used to be that the institution of marriage was held in such high esteem that all parties worked in tandem to ensure the continuity of this august partnership. This union is viewed as a necessary worldly duty and a mandatory duty for the continuation of species.
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In a family unit, in daily day to day living, frictions are bound to arise. The schism between fitting to fulfilling personal agendas and familial needs often clashes head-on. When the shove comes to the push, family requirements take precedence. People had no qualms putting aside private desires for collective upliftment.

Somewhere along the way, things changed. At the dawn of the 20th century, the century of self saw people taking more interest in personal development. The idea of giving life and soul to a community or clan did not fly. It became self-interest above the rest. We, a collective noun, became I, me and myself.

This miniseries piqued my interest so much. A sarcastic individual who has a caustic comment on everything that happens around him reminds me so much of myself. Quite often, this trait of his lands him in trouble. The protagonist, Arya Iyer, is a prolific writer, second on the bestseller list, is quite opinionated and has no qualms about airing his two-cents worth. In his eyes, modern society is self-centred and narcissistic. No matter what they say about inner beauty and external appearance being skin-deep, they are quick to pose to get that perfect angle of their best look. Herd mentality is deeply engrained, and a preset response is expected.

Despite his displeasure, Arya has to tolerate all these quirks about society as he lives on their goodwill. They have to like his books. It might be a paradox as they are the very observations that he is trying to poke fun at. 

The modern upper-middle class is a haughty, demanding lot that feels entitled and has no reservations about expressing what they think. They do not give a damn how the affected party would feel as it is well within their rights to articulate. At the same time, put in the same situation, they flip. They hyperventilate, scoff, quiver, feel tight-chested and cry invasion of personal space. It seems that everything in the modern world is defined.

It is a riot to watch Arya and his antics as he goes through a separation from his spouse of 10-over years. They, however, want to keep it hush until their daughter reaches high school. In the meantime, living in a gated community with the fellow middle-class western-educated crowd in a twitter-dominated world is no fun. Infiltrating into media with equally quirky members is no walk in the park. It is so easy to find love of the passionate kind in an open society. Is it the generation gap or just that Arya and his similar-minded friends are just a notch above the rest?

Reviews on this miniseries found online are mixed. They are either all too condemning or singing praises of it. This is to be expected. After all, writers, journalists and much of the English-consuming audience are the target group of the screenwriter's ridicule. It is deemed crass humour to mock sexual orientation, gender identity, body shapes and place the female gender as the butt of jokes. It is insensitive, it seems, to ridicule 'noble' deeds like switching all electrical devices for an hour on Earth Day but leaving the air-conditioning off for the rest of the year! On top of that, there are cancel culture and woke generation that one has to deal with! 4.5/5.

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Like a donkey with forelimbs tied!

Karnan (Tamil, கர்ணன்  2021)

Written and Directed by: Mari Selvaraj

Nobody actually thinks much about the presence of a bus stop. It is just there. But for the village of Pudiyankulam, it is, or rather the absence of it questions their existence on Earth. The village is considered a wasteland where nobody wants to live. But for a group of lower caste families, it the place where they live, their children grew, and the memories of their presence in this Universe is embedded. And they want recognition for that. 

For years the villagers had to walk all the way to the adjacent neighbouring village to alight the bus as the buses refuse to stop for the villagers as there was no designed stop there. For years, an application to local authorities for a bus stop drew a blank. The neighbours are not too happy having people of lower caste hanging around their area. Quarrel frequently arise. 

In emergencies, the dwellers have to resort to stopping speeding lorries to hitch a ride. In one instance, the protagonist of the story, Karnan, lost his sister in an accident. The animosity between the two villages escalates because of this.

In summary, the movie is about the oppression of the underclass and how the downtrodden fights back to salvage their dignity. Not sticking to the time-tested formula of one man's struggle will overcome all eventualities, the filmmakers decided to infuse many subtle symbolisms and parallelism into the storyline. As expected from the title of the movie, there are many references to the Mahabharata. Karnan was the 'unwanted' son of Kunti, who would land up on the other side of the warring army as a charioteer. Despite being a valiant man, he was denied many opportunities in life because of his 'adopted' family. The villagers named their kids after the characters from Mahabharata - Draupadi, Duryodhana; that also becomes a sore point with the police later. It seems the oppressed cannot even choose their own name. Apparently, these names of divinity are not suited for the low caste!

Sivaji as Karnan (1964)

There are many animals showcased here as an allegory to the situation at hand. A donkey is seen throughout the movie with its forelimbs tied by its owner. The donkey moves but with much difficulty, slower and with a lot of pain. That indeed is the predicament of the marginalised - they give space to live on Earth but with many restrictions. They move around, but like the donkey, they cannot run. They are smart enough to realise their handicap but not bright enough to untangle their knot of misery. A horse, which signifies aristocracy, is ridden by Karnan at the end of the movie, representing his attainment to a superior position to dictate terms with those in power. 

It is amazing how people give reverence to the uniform or any symbol of power. The Stanford Prison Studies and the Milgram experiment alluded to this fact. People who are innately coward gain so much courage in numbers. This is called mob mentality. 

The antagonist to Karnan in Mahabaratha is Krishna. Here Krishna comes in the form of police officer Kannipiran (another avatar of Lord Vishnu). Even though the story is supposed to be a work of fiction, it is based on an actual event in 1995 in Koduyinkulam where villagers attacked and smashed up a police station because of brutality and discrimination.

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The art of not giving a rat's behind!

Is love enough? Sir (Hindi; 2018)

Netflix

The question is this. What draws two souls together in a romantic bond and possibly in the union of matrimony? Is it physical attraction or the ability to see things through the same lens, have the same madness or perhaps share the same dream of how life ought to be?

There used to be a time, perhaps even now in certain circles, of these types of unions being arranged by elders. There are no unique qualities looked for by the involved parties. There is minimal interaction between involved parties, and the marriage is more of a contract to continue the circle of life. One takes what one gets and tries against all odds to hold the fort against time's uncertainties. Come what may, the union of the Gods stand the test of time; only to revoked by death.

Now, is it necessary for the uniting couple to be compatible? After all, it is a biological union for continuity of species of which Nature can make the natural selection. Society determines every offspring of these unions be accounted for and the responsibility of caring for them is cast in stone. Biology encourages the male species to sow their wild oats but the female to be stringent with gametes' choice in a competitive selection of the fittest. Unlike their counterparts in the animal kingdom, Man is expected to provide for his partner and kind. 

Man has also put in another criterion to be locked in matrimony, compatibility.

The romantics in you want to believe that the highly acclaimed movie characters will have a happy ending. The logical mind, however, drills upon you this association is doomed from the word go. A barely educated young widow from a remote village coming to town to work as domestic help is no compatible match in hand for a US-educated architect/writer who has been cradled in luxury throughout his life. The widow may have a chest full of zest and big dreams to lift herself out of poverty with her bootstraps, in reality, unicorns cannot be pink and invisible at the same time.

Ashwin returns to his apartment, heartbroken, after leaving his bride at the altar after finding to be adulterous. Ratna, his helper, over time, tries to cheer him up by telling her miserable life as a curse with early widowhood and being the breadwinner for her family, even though they look at her as a burden. 

The acting is so nuanced, filled with subtle body languages and unspoken dialogue. Despite being a simple story with an ending which is anybody's guess, it managed to maintain its viewers' attention till the end.

The ghost of one's social past will haunt him until and unless one uproots and starts life afresh away from the encumbrances of the web of societal mores and pressures. Alternatively, one can live a reclusive life, giving two hoots to people around him, come hell or high water!

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The slippery slope of success

Serious Men (Hindi; 2020)

Article 26 of The Universal Declaration of Human Rights promises free education to all, at least in the elementary stages. It should be equally accessible to all, and parents have the right to choose the kind of education given to their children. Sounds nice on paper, but in reality, this is far from the truth.

It is not a level playing field. How often have we heard of bright students missing opportunities because of their social class, race or simply not knowing the 'right people'? Conversely, so many are elevated way beyond their capabilities because of affirmative actions. Some scaled greater heights as their parents are capable of using their influence or wealth to beat the system or use backdoor means to achieve what they cannot possibly do in a fair game.

The world is not fair. The democratisation of education is only a smokescreen. In reality, it is controlled by the elitist. Schools in the developed part of the countries have better facilities and full-strength teaching force. Students in poor areas have to make do with suboptimal learning conditions. Private schools are paid for by the affluent, and government boarding schools get the undivided attention of rulers as it houses the kids of the elites and students to fit a specific agenda.

Everyone has wised up to appreciate the importance of education. And they all want a piece of the action. The under-privileged use academic excellence as their ticket to extrude themselves from the shackles of poverty. And do not be surprised if they fight for the passport with tooth and nail.

The movie, Serious Men, is a satirical look at the hypocrisy of the society that talks about equality and social justice. In reality, however, everyone is just happy with the status quo. Each uses each other to suppress the one below them, keep them ignorant but instead use the other to springboard themselves to greater heights. The ignorance of the under-class is ridiculed, but the follies by the elites are swept under the carpet.
Like the colonial masters who thought that civilising the natives was the white man's burden, the elitists class believe that they are indeed torchbearers for marginalised. The politicians, on the other hand, make a fool of everyone for their own vested interest.

Ayyan Mani, the protagonist, is a personal assistant to a renowned space scientist. Extricating himself from extreme poverty via education, Ayyan tries to provide the best that education can offer to enjoy the fruit of scholarship. To his disappointment, he meets resistance at all ends. To top it up, his son is a slow learner with hearing impairment. Ayyan concocts a scheme to make his son appear a genius.

This offering ends up as a thought-provoking one. It sneers at our social web and the game that we play to achieve our private intentions. It is well crafted and does not paint the melancholia of poverty, but instead, people in the film have accepted their karmic cycle and carry on with their lives.

A memorable line in the film reminds us that for a generation to just sit down and enjoy doing nothing, he has to be the 4th generation (4G) enlightened one. The 1st generation (1G) are those who are uneducated but realise the importance of good education. They would break their back to provide basic education for their offspring (2G). The 2Gs will not be among the upper echelon of society but would want their kids (3G) to excel. Life is a race for them to move the family one notch higher. They have no free time. The 3Gs can ponder on mundane stuff like, as quoted, why condoms have dots on them! The 3Gs would have rendered all the luxury in life that 4G can just laze their time away, without having to work.

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Nobody promised a rose garden!

Raat Akeli Hai (A lonely night, Hindi; 2020)
Netflix

Everyone enjoys a delightful whodunnit every once in a while. The problem with most Indian movies is that the said story eventually becomes too outlandish as the movie drags on for over two hours and the screenwriters rushing to tie all loose end into a jumble. But not this one. It has Agatha Christie's trademark storyline written all over it. It goes on round and round, shifting the suspicion from one character to another. In the midst of all these, some subplots give the story more punch.   

A dead body starts the narration. No one is beyond suspicion, and everyone has something hidden in their proverbial closet. Everyone has a valid reason to be the murderer but an alibi as well. Good old detective work solves the case at the end.

A wealthy tycoon is found dead on his bed on the night of his second wedding to a girl younger than his daughter. The tycoon is a nasty chap who had lost his wife to a highway robbery cum murder five years earlier. His family which includes his adult son, daughter, sister and first wife's brother are all unhappy with the old man's marriage to his young bride, a lady of questionable reputations who came into the house as his mistress. With every member of this patriarchal clan having a perfect reason to commit the murder, in walks an inspector. Of course, the maids know more than they are willing to talk.

After watching the movie, only then you realise that you have seen it all before. Yes, it is a remake of 'Knives Out' starring Daniel Craig as the inspector. If 'Knives Out' was more of a light-hearted comedy, 'Raat Akeli Hai' is a dark drama that deals with the unsavoury truths of society where wealth and power bring with it evil intentions and ability to get away with murder. On the other hand, being stuck in the lower rung of society also pushes one to commit heinous crimes of desperation and helplessness. 

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“you don’t work for us, you work with us…”

Sorry We Missed You (2019)

During the infancy of my career, many a time, being the most junior of the team, I usually ended up having to see poor patients who just made it to the clinic at closing time. I soon came to know that they were living far from civilisation, deep in rubber or palm oil estate. Coming to the hospital meant getting up at four in the morning, preparing breakfast for the school-going children and being able to get on the first 6 o'clock morning bus to town. Invariably, they would be delayed. The transport out to the main road would not turn up. Perhaps, the feeder bus would break down or the bus that they had to change left earlier.

They would eventually reach the hospital close to noon. After getting an earful for not keeping to their time, they would have to seen by the junior most doctor of the team. The senior ones would have left the clinic for more pressing needs. Unable to make a definitive plan of medical treatment for them, these patients who would require most of the expertise from the medical team ended up discarded by the system. They would be given another appointment; the whole ritual needs to be repeated. On top of all these, as they are daily wage earners, absence from work meant the loss of a day's earning.

I thought all these slave-like working conditions would end as the world changed. With globalisation, workers were promised working conditions and preservation of unassailable rights of the workers. Marx's dream of working for sustenance and having leisure time to enjoy the reason for their existence, they thought, would of fruition with the gig economy. They do a gig when and if they want. The workers would be their own boss. They work for themselves; not for the bosses or company. They do not work for a company but with the company. What the company failed to highlight were the fine prints, the exclusion clauses and the penalty they were to be imposed if specific rules are not followed.

Fast forward, and workers realise that the whole economy is just a scam. The same old economic ideology is just re-packaged. The same plot of scheming the poor to feed the rich is in full force. The workers continue breaking their back until a new horizon emerges. Who knows what else would they promise the next time. Meanwhile, like Sisyphus, the unendowed have the find simple pleasures within their unending cycle of hardship, a flicker of hope, resolution, pain and the curse of repeating it all over again.

Still reeling with debts from the 2008 economic downturn, Ricky thought he found a sure way to end his financial woes. The promise of good returns as an independent despatch services provider, he felt his hard work was the only thing that separated him from economic independence. For that, however, he needed to purchase a pickup van. For its down payment, he had to sell off the family car in which, the wife, Abbie, a home care nurse moved around to meet her patients. 

Soon everyone realises that it is not all hunky-dory. Ricky has to spend long hours at work. Abbie finds it taxing to meet her demanding schedule. Their two teenage children are left to their devices. The parents are unable to meet up to their school and their children's emotional needs. Ricky's woes only accumulate. He has to pay damages for lost items which are not covered by insurance and to work despite his injuries after mugged.  

It looks like the dependence on others will spill over on to the next generation. Their dependency on their digital hand-held devices is not mere addiction. It has become their essential tools to do their school, learning, communication and more. The digital world is another platform that is manipulated by the economic giants to make people fall at the service providers' feet. This is yet another doublespeak and the dehumanising trap of the neoliberal economy. Instead of building an antifragile society that grows stronger with every stress that is hurled upon them, we will be left with a brittle one, needing support at the mere thought of pressure.

Again, our electron microscopic friend, COVID-19 has shown us the fragility of the gig economy. Being locked down for two weeks may be excellent for family time and bonding, but neither bring in the cash nor pays the bills.

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